Won't let me at that... Do you have it set to "private"?dylanger wrote:http://soundcloud.com/farrellygreen/big-sunglasses-phase-1-1
Heres the tunes I'm working on. The tracks are for the most part scratch tracks, besides the drums and bass. I was really just trying to write the parts and I'm not sure if the double stop part in the middle is staying. I love he tone I have of the intro, and like the tones of the rhythm (until I screw up the chords in the solo hehe) The tone I have for the solo is not what I'm after. Let me know what you think
dylanger wrote:http://soundcloud.com/farrellygreen/big-sunglasses-phase-1-1
....... I love he tone I have of the intro, and like the tones of the rhythm (until I screw up the chords in the solo hehe) The tone I have for the solo is not what I'm after. Let me know what you think
To me, none of those examples sound like anything not close miced.dylanger wrote:Always thought those tone for the solo of this was great 1:59
http://www.youtube.com/watch?v=IAj9JyJnWqA
Love the intro tone
http://www.youtube.com/watch?v=M9TG9kOObHU
Overdriven Tele ( I think) 2:26
http://www.youtube.com/watch?v=Q87yVYl3zG0
Within 6 inches. For me, I typically prefer close as possible.dylanger wrote:Whats your definition of close mic'd, what is the max distance from the grill? Now I really want to experiment.
I didn't give anything a super critical listen. Everything except the treatment of the lead in the third example seemed pretty straight forward to me. Most of what I hear in those as "tone" sounds like a nice cab sound, miced with an appropriate mic, and not much else.... other than the obvious reverbs and such.dylanger wrote:If those are closed mic'd cabs in the examples that I like what else would you expect to into to that tone, if you were trying to achieve that tone what would you do?
Scott DeVarenne wrote:I've come to place almost no faith in what I hear in the room.
Malcolm Boyce wrote:dylanger wrote:
You would probably hate to know how little needs to be done to guitar sounds like that solo in the Mayer tune...
Don't make me smack you!Scott DeVarenne wrote:Just have a drink and lay down yer' tracks. We'll fix it in the mix.
Unless I am purposely trying to get the room involved, I will always listen to the cab directly in close proximity (within reason and of course) to hear what is actually going on closer to where the microphone will be hearing the source. That way I can better deal with what I have when I hear it reproduced.dylanger wrote:Scott DeVarenne wrote:I've come to place almost no faith in what I hear in the room.
I'm starting to learn this.
macrae11 wrote:Another thing to keep in mind is context. What might sound great on it's own could fall to pieces in the mix/arrangement. Now obviously the quality of the mix/arrangement will be a big factor, and that may need some changing, but crafting a tone that compliments what is already in place is key. It becomes easier with experience but often just requires trial and error to learn.
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